![]() Eventually the fins disappeared because they were too costly the build. Development of the Powers design took several months. For several months after that it was still up in the air whether the ’61 Thunderbird would be a facelift or all-new, but development of the new theme model continued. To Boyer’s surprise, Powers side was chosen as the theme for the ’61 Thunderbird-vertical stabilizers (as Powers called them) and all. The clay model was barely ready to show management at Friday’s review. Although the fins were added by Powers on both sides after Boyer went home, the passenger side of the proposal was designed by Powers and the drivers side by Boyer. Boyer left around midnight, but Powers and Amrosi stayed and finished the clay model just as everyone else was coming to work the next morning. ![]() Almost in desperation he selected an incomplete full-sized clay model Powers and clay modeler Walt Amrosi had been working on, and he suggest that he, Powers and Amrosi pull and all-nighter in an attempt to come up with a proposal that management might accept at their next day Friday review.īoyer, Powers and Amrosi began work on the full-sized clay model about the time everyone else went home. In fall 1957, on a particular Thursday afternoon, Boyer realized there was nothing ready for his studio to show management the next day. Management reviews were usually held every Friday. There had been many tries but no approvals. He was relatively new in that studio.īecause of the lack of direction and the often changing directions, it was difficult for studio designers to develop a theme model that would gain management approval. Powers was a disciple of Alex Tremulis, who had been his mentor. ![]() Boyer had been involved in all prior Thunderbird designs. Robert McNamara, head of Ford Division at the time, had trouble deciding whether the next Thunderbird would be a facelift of the 1958-60 model or a completely new design.ĭesigners in the Thunderbird studio when the ’61 Thunderbird was designed were Bill Boyer (manager), Jim Powers, Richard Clayton and Ken Pheasant. It tried different setups of heads and carburetors, resulting in various power outputs.There is probably not a more confusing design story than the design of the ’61 Thunderbird. Under the hood, Ford installed a 6.4-liter engine paired to an automatic transmission. Later on, the carmaker added the sports roadster version, which featured a fiberglass cover for the rear seats. No wonder Ford sold more than 200,000 units of it, in both shapes, from which more than ten percent were convertibles. True, it wasn't everybody's cup of tea, but it was on top of their wishlist for those who appreciated the car's design. The interior was fit for four passengers with two bucket seats at the front and a bench for two in the back. Its slightly sloped bodywork and small fins on top of the rear (huge) quarter panels resembled a jet-fighter. Its steep windshield was the only part of the car that raised above the waistline when the rag-top was down and hidden behind the cabin. With its narrow front end, continued with a raked-forward lower grille and a curved hood, the Thunderbird looked like it was ready to cut through the air like a hot knife through butter. Even though Ford didn't want the car to be considered a sports car, it looked fast, even though it wasn't. The car was unveiled in 1960 as a 1961 model. Unlike the second generation, which featured a flat front area, the 1961 T-Bird was a work of art penned by Bill Boyer. It still remained a personal luxury vehicle, with either a hardtop or a soft top, but it was sleeker. The third generation of the Thunderbird was a big revolution in the model's history since it came with a completely new design approach.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |